Computer-generated Music, Authorship, and Work Identity

Grazer Philosophische Studien 91:107-130 (2015)
  Copy   BIBTEX


In a paper entitled “Computer Composition and Works of Music: Variation on a Theme of Ingarden” (1988), Peter Simons explores some ontological problems that ensue from the use of certain forms of composition software, where the final outcome (the score) is the product of random processes within the computer. Such a method of composition raises, among others, the following questions: What kind of work (if any) has been created? Is it a work of music in the first place? Who is the composer/author? Is it the software programmer, the user, the one who selects a particular score for public performance, the computer? What is the relationship of distinct products of the same programme? Are they instances of the same work? In this paper, I shall re-examine these questions.



    Upload a copy of this work     Papers currently archived: 93,127

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library


Added to PP

37 (#445,119)

6 months
14 (#200,872)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

Maria Elisabeth Reicher
Aachen University of Technology

Citations of this work

No citations found.

Add more citations

References found in this work

No references found.

Add more references